Montreal continues to be a source of innovative experimental cinema that is rooted in hands-on, formally adventurous production -- thanks, in part, to the exuberant activities of the Double Negative filmmakers' collective. Co-presented with Bright Lights (Emerson), this program highlights a number of works from Double Negative members and their friends completed in the last several years.

Guest Filmmakers Daïchi Saïto and Eduardo Menz will discuss the screening with the audience in a post-screening Q&A.

Come join a homecoming celebration to honor Bill’s seven-decade career shaping art and design education. Hear how he was transformed by MassArt as a student on the GI Bill in the 1940s and how he has influenced the school:

His former students include past and present members of the 3-Dimensional Studies Department, Dan Dailey, George Greenamyer, and Chuck Stigliano. Daley is an internationally renowned artist whose work is in numerous collections including the Metropolitan Museum of Art, the Philadelphia Museum of Art, Los Angeles County Museum, the Victoria and Albert Museum in London, and the Stedelijk Museum in Amsterdam. His site specific installations can be seen throughout Philadelphia, including the screen he created for the Ritz Theater in 1978. An influential and beloved educator, he has trained and inspired generations. He has taught both art and design, and chaired both departments during his 42 years at Philadelphia College of Art (now the University of the Arts). He is still making new work at age 89 in his studio in Elkins Park, outside of Philadelphia.

Artist’s talk and presentation of the Society of Arts and Crafts’ Medal for Excellence in Craft
Wednesday, September 17
6 pm — 8 pm

The event is being held in connection with concurrent exhibitions
August 2 — October 25, 2014William Daley: 14 for 7 at the Society of Arts and Crafts
&William Daley: Studio Components in the President’s Gallery, MassArt Tower Building.

Interactive documentary project Wander, Wonder, Wilderness explores the relationships between humans, community, and nature—and the ways that green spaces serve as an antidote to our de-natured lives. Participants are invited to visit Boston’s natural spaces, create content including text, images, and sound, and share it with future visitors via an interactive website and app. Project director and artist Paul Turano will kick off the project at the ICA with a documentary screening.

The camera behind film history’s first movie was pointed at a factory. Workers Leaving the Lumière Factory, shot in 1895 by Auguste and Louis Lumière, shows men and women as they leave the gate of the Lumière factory in Lyon, France. Typical of early nineteenth century films, this film was made in one continuous shot, a technique that emphasizes the idea that every detail of the moving world is worth considering and capturing. For their project Labor in a Single Shot, Antje Ehmann and Harun Farocki returned to the methods of the Lumière brothers, inviting filmmakers and art and film students worldwide to express the subject of "work" with a single camera shot.

The exhibition includes films by filmmakers who worked with Ehmann and Farocki during their October 2013 workshop at MIT. Boston-area subject matter includes ticket scalpers at Fenway Park, a neighborhood honey vendor and professional Cos Play workers among others. With America’s unemployment rate at over six percent, the investigation of labor in all forms — paid, unpaid, material, immaterial, traditional, innovative, rural or urban — is at the forefront of the media landscape.

The work of Bailey, Bingham and Lamb engages a visual vernacular both present tense and retrospective. Sculpture, painting and installation shake off the snooze of everyday saturation with humor, homage and editorial wit.

Witness: Art and Civil Rights in the Sixties offers a focused look at painting, sculpture, graphics, and photography from a decade defined by social protest and American race relations. In observance of the fiftieth anniversary of the Civil Rights Act of 1964, this exhibition considers how sixty-six of the decade's artists, including African Americans and some of their white, Latino, Asian American, Native American, and Caribbean contemporaries, used wide-ranging aesthetic approaches to address the struggle for racial justice.